An
independent record label (or
indie
record label) is a
record
label operating without the funding of or outside the
organizations of the
major record
labels.
Overview
The boundaries between major and independent labels, and the
definitions of each, differ from commentator to commentator. In
practice, however, the traditional definition of a 'major' record
label is one that owns its own distribution channel. Some
independent record labels, in particular those with successful
performing
artists, sign dual-release
agreements (and make other deals) with major labels and may rely to
some extent on international licensing deals, distribution
agreements, and other arrangements with major record labels. Major
labels may also wholly or partially acquire independent
labels.
"Today, big music can seem like the only game in town
and many newcomers think the only way into the industry is "getting
signed", getting a "recording
contract" or "record deal". Musicians working locally
cheerfully call themselves unsigned, unpublished, semi-pro,
amateur, etc. rather than what they are. But these DIY and indie
acts are the music industry every bit as much as the majors. Maybe
more so.
Although mainstream TV and radio is dominated by major label acts,
a 2004 survey found over 4,500 live music events in the UK every
day (1.7 million a year, MORI poll). Compare that with TV. The mass
and diversity of local acts puts the handful of bland national
icons in perspective. There's a lot more happening outside the
media bubble. But the influence of big business gets attention, and
it's easy to forget that what's happening in music isn't what's
happening on MTV, Radio
One, or in the charts."
Other nominally "independent" labels are started (and sometimes
run) by major label artists but are still owned at least in part by
the major label parent. These spin-off labels are also frequently
referred to as
vanity labels and are
intended to appease established, powerful artists and/or to give
them latitude in discovering and promoting new talent.
According to
Association of Independent
Music (AIM) "(...) A "major" is defined in AIM's constitution
as a multinational company which (together with the companies in
its group) has more than 5% of the world market(s) for the sale of
records and/or music videos. The majors are (currently) Sony BMG,
Warner, EMI, and the Universal Music Group (which incorporates
Polygram).(...) If a major owns 50% or less of the total shares in
your company, you would not (usually) be owned or controlled by
that major. In that case, you can join AIM.", see
AIM Membership Form
History
Independent labels have a long history of
signalling developments in popular music, stretching back to the
post-war period in the United States
. Disputes with major labels about publishing
led to a proliferation of labels specializing in
country,
jazz, and
blues.
Sun Records
played an important part in the development of
Rock 'n' roll as well as country, with artists
such as
Elvis Presley,
Carl Perkins,
Johnny
Cash,
Jerry Lee Lewis,
Roy Orbison, and
Charlie
Rich. The independent labels usually aimed their releases at a
small but devoted audience, not relying on mass sales for success,
giving artists much more scope for experimentation and artistic
freedom.
In the
United
Kingdom
during the 1950s and 1960s, the major record
companies EMI, Philips, and Decca had so much power that independent
labels struggled to become established. Several British
producers launched independent labels as outlets for their work
including
Joe Meek (Triumph),
Andrew Oldham (Immediate), and
Larry Page (Page
One).
Chrysalis Records, launched
by Chris Wright and Terry Ellis, was perhaps the most successful
from that era, and continued to expand. Several major rock stars
set up their own independent labels -
The
Beatles with
Apple Records,
The Rolling Stones with Rolling
Stones Records, and
Elton John with
Rocket, but they generally failed as commercial ventures or were
swallowed up by the majors.
The
punk rock era brought about a turning
point for independent labels, the do-it-yourself ethos of the time
seeing the emergence of a plethora of independent labels. In the
US, independent labels such as
Beserkley
also found success with artists such as
The Modern Lovers. Many of the UK labels
ended up signing distribution deals with major labels to remain
viable, but others retained their independence (eg. Warp, Wax On,
BlancoMusic) and the factor that came to define independent labels
was distribution, which had to be independent of the majors for
records to be included in the
UK Indie
Chart, which was first compiled in 1980. The term 'indie' and
the chart itself was unrelated to a specific genre of music, and
the chart featured a diverse range of music, from punk to
reggae, to
MOR and mainstream
pop, including several hits from the likes of
Kylie Minogue and
Jason Donovan on the
PWL
label. The late 1970s had seen the establishment of independent
distribution companies such as Pinnacle and Spartan, giving
independent labels an effective means of distribution without
involving the majors. The situation improved further with the
establishment of 'The Cartel', as association of companies such as
Rough Trade Records,
Backs Records, and
Red
Rhino, who helped to take releases from small labels and get
them into the shops nationwide. The 'Indie Chart' became a major
source of exposure for artists on indie labels, with the top ten
singles regularly aired on the national television show
The Chart Show. By the late
1980s, the major labels had identified an opportunity to break new
acts via the indie chart, and began setting up subsidiary labels
that were financed by the majors but distributed via the
independent network, thereby being eligible for the chart. With the
major labels effectively pushing the genuine indie labels out of
the market, the independent chart became less significant in the
early 1990s, with 'alternative' increasingly being used to describe
artists, and 'indie' often used to describe a broad range of
guitar-based rock and pop. The Offspring's 1994 album 'Smash' is
the highest selling independent record of all time and also the
highest selling album by a punk band. The album sold more than 16
million copies worldwide.
Independent labels and the RIAA
Starting with the widespread
piracy lawsuits of the early-2000s,
non-membership in the
Recording Industry
Association of America (RIAA) or its non-American counterparts
is increasingly seen as a prerequisite for a label to be truly
independent, although this view is not universal. Given the number
of RIAA labels, this can be difficult unless one checks a database
such as the
RIAA
Radar. In the US, independent record labels are represented by
A2IM
American
Association of Independent Music, in the UK, by the
Association of Independent
Music, whilst in Australia they are represented by the
Australian
Independent Records Labels Association.
Many independent labels have been wrongly listed as members of the
RIAA on the RIAA's own website, and have fought for many years to
have them removed from the site, most notably
Fat Wreck Chords,
Matador Records, and, to a lesser extent,
Lookout! Records.
See also
References
- Rogan, Johnny (1992) "Introduction" in The Guinness Who's
Who of Indie and New Wave Music, Guinness Publishing, ISBN
0-85112-579-4
- Lazell, Barry (1997) "Indie Hits 1980-1989", Cherry Red Books,
ISBN 0-9517206-9-4
Wikis
Quiz
Map
Search
